Richard Wright's Assessment for the Negro Writers
Introduction
Richard Wright’s plead in the Blueprint for Negro Writing could be very well summarized in one of the famous words from Thomas Kempis, “Be not angry that you cannot make others as you wish them to be, since you cannot make yourself as you wish to be.” In this popular essay, Richard Wright denounced the Negro writers as he perceived them to be merely begging for the sympathy of the bourgeoisie instead of striving to present a life that is more worth living for the Black Americans (Mitchell 98). This paper argues that Richard Wright was justified in his assessment that literature was so concentrated on pandering to white readers thereby neglecting the needs of the “Negro masses.” In the following paragraphs, two literary works are examined namely Langston Hughes “The Negro Speaks of Rivers,” and Claude McKay’s “If We Must Die.” In these literary works, it is evident that indeed the Negro writers were so engrossed with the idea of racial discrimination instead of suggesting positive actions that would help uplift the Black American’s condition.
Marxism as the Key
Wright, in this essay, asserted that the "Negro writers have not reflected any consciousness and mobility geared towards political and economic action"--which further enlarges the gap between the militant Negro workers and the Negro literates. He pointed out that the Negro writers are futile in following the past standards, merely examining the criticism against themselves. He proposed that Marxism is the key to this problem in the society because the Black Americans’ condition is something that can be changed. He also compelled the Negro writers to use their writing to influence the Negro masses since the...
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In-text Citation
(Shmoop Editorial Team)
The Influence of Booker T. Washington and W.E.B. DuBois on the Writings from the Harlem Renaissance
The "New Negro," the Black writers in 1920/30, tried to get out of the dominant white assimilation and practice their own tradition and identity in autonomous and active attitude. In virtue of their activities, the Harlem Renaissance became the time of sprouting the blackness. It offered the life of the black as the criterion to judge how well the democracy practices in America and to weigh the measure of the dream of America. Their vitality and artistic spirit, and dreams were so impressive that the Harlem of the 1920s has never been eluded out from the memory of American (Helbling 2).
Like most, the stories we hear as children leave lasting impacts in our heads and stay with us for lifetimes. Hughes was greatly influenced by the stories told by his grandmother as they instilled a sense of racial pride that would become a recurring theme in his works as well as become a staple in the Harlem Renaissance movement. During Hughes’ prominence in the 20’s, America was as prejudiced as ever and the African-American sense of pride and identity throughout the U.S. was at an all time low. Hughes took note of this and made it a common theme to put “the everyday black man” in most of his stories as well as using traditional “negro dialect” to better represent his African-American brethren. Also, at this time Hughes had major disagreements with members of the black middle class, such as W.E.B. DuBois for trying to assimilate and promote more european values and culture, whereas Hughes believed in holding fast to the traditions of the African-American people and avoid having their heritage be whitewashed by black intellectuals.
There has been much debate over the Negro during the Harlem Renaissance. Two philosophers have created their own interpretations of the Negro during this Period. In Alain Locke’s essay, The New Negro, he distinguishes the difference of the “old” and “new” Negro, while in Langston Hughes essay, When the Negro Was in Vogue, looks at the circumstances of the “new” Negro from a more critical perspective.
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Harlem soon became known as the “capital of black America” as the amount of blacks in this community was very substantial. Many of the inhabitants of this area were artists, entrepreneurs and black advocates with the urge to showcase their abilities and talents. The ...
In Harlem Renaissance by Nathan Irvin Huggins, the author doesn’t answer just one general question, but instead questions the culture and identity crisis that enveloped this movement. He successfully brings
African American writing regularly addresses racial personality—from books on going to expositions on Black Power—from journalists as differed as W.E.B. DuBois, Zora Neale Hurston, and Toni Morrison. Be that as it may, these authors are once in a while studying on how they build a racial personality for themselves and their characters. Dark writings can possibly uncover the variables that make racial personality and clear up how the procedure of consideration and prohibition work inside the African American group. Building up a strategy for deciphering how racial character is tended to in African American writings is critical in comprehension the implicit rejection in the dark group. The answers (or inquiries) that rise up out of this study
During the early to mid-twentieth century Langston Hughes contributed vastly to a very significant cultural movement later to be named the “Harlem Renaissance.” At the time it was named the “New Negro Movement,” which involved African Americans in creating and expressing their words through literature and art. Hughes contributed in a variety of different aspects including plays, poems, short stories, novels and even jazz. He was even different from other notable black poets at the time in the way that he shared personal experiences rather than the ordinary everyday experiences of black America. His racial pride helped mold American politics and literature into what it is today.
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Hughes, Langston. "Harlem." [1951] Literature. 5th ed. Eds. James H. Pickering and Jeffery D. Hoeper. Upper Saddle River, NJ: Prentice, 1027-28.
Over the course of the century chronicling the helm of slavery, the emancipation, and the push for civil, equal, and human rights, black literary scholars have pressed to have their voice heard in the midst a country that would dare classify a black as a second class citizen. Often, literary modes of communication were employed to accomplish just that. Black scholars used the often little education they received to produce a body of works that would seek to beckon the cause of freedom and help blacks tarry through the cruelties, inadequacies, and inconveniences of their oppressed condition. To capture the black experience in America was one of the sole aims of black literature. However, we as scholars of these bodies of works today are often unsure as to whether or not we can indeed coin the phrase “Black Literature” or, in this case, “Black poetry”. Is there such a thing? If so, how do we define the term, and what body of writing can we use to determine the validity of the definition. Such is the aim of this essay because we can indeed call a poem “Black”. We can define “Black poetry” as a body of writing written by an African-American in the United States that formulates a concentrated imaginative awareness of an experience or set of experiences inextricably linked to black people, characterizes a furious call or pursuit of freedom, and attempts to capture the black condition in a language chosen and arranged to create a specific emotional response through meaning, sound, and rhythm. An examination of several works of poetry by various Black scholars should suffice to prove that the definition does hold and that “Black Poetry” is a term that we can use.